B-Side Guys

Grief has a way of sharpening artistic vision, and Bertie Newman’s “Precipice” EP stands as a testament to this bittersweet truth. Released on September 13, 2024, this six-track collection serves as both a memorial and a catharsis, born from the devastating loss of a friend to suicide. Newman, a Hackney-born artist with a growing following, has crafted a work that’s as emotionally raw as it is musically refined.

From the opening notes of “Razored Glass,” Newman sets a tone of intimate vulnerability. His voice, reminiscent of Bon Iver’s Justin Vernon but with a distinctly London edge, floats over delicate acoustic arrangements. The track’s title evokes the sharp pain of loss, while the gentle instrumentation provides a stark contrast, mirroring the often conflicting emotions that accompany grief.

“Come Back Round” follows, building on the EP’s themes with a more uptempo approach. Newman’s skill at crafting memorable melodies shines here, with a chorus that lingers long after the song ends. It’s a plea set to music, capturing the desperate wish to turn back time that anyone who’s experienced loss will recognize.

The EP’s centerpiece, “Six Months Later,” marks a shift in perspective. Here, Newman explores the evolution of grief, how it changes shape but never truly dissipates. The production on this track is particularly noteworthy, with layers of harmonies and subtle electronic elements that add depth without overshadowing the song’s emotional core.

“Tell Me What You’re Dreaming Of,” the EP’s focus track, is where Newman’s songwriting truly soars. It’s a brave attempt to understand the unthinkable, to peer into the mind of someone in their darkest moments. Newman’s lyrics here are both specific and universal, painting a vivid picture of his friend while touching on the broader human experience of trying to comprehend the incomprehensible.

The penultimate track, “Call Me Back,” carries echoes of Hozier in its soulful delivery and folk-inspired instrumentation. It’s a poignant imagining of conversations left unfinished, wishes left unexpressed. Newman’s vocal performance here is particularly moving, conveying a mix of regret and longing that’s palpable.

Closing out the EP, “Decay” might seem like a bleak title, but the track itself offers a glimmer of hope. It’s about accepting the reality of loss while finding a way to move forward. The arrangement here is the most expansive on the EP, with strings and percussion joining Newman’s guitar work to create a soundscape that feels both conclusive and open-ended.

Throughout “Precipice,” Newman demonstrates a remarkable ability to balance deeply personal storytelling with universal themes. His indie-folk sound, while drawing comparisons to artists like Gregory Alan Isakov, has a uniqueness that stems from his London roots and his unflinching honesty.

The production, crisp and intimate, serves the songs perfectly. Each track feels like a private performance, with Newman’s voice front and center, supported by arrangements that enhance rather than overwhelm the emotional content of the lyrics.

At just under 22 minutes, “Precipice” is a concise work, but it’s one that demands and rewards repeated listens. Each spin reveals new layers, both musical and lyrical. It’s an EP that grows with the listener, its impact deepening as one sits with the weight of its themes.

Newman’s previous success with tracks like “Seaside Eyes” and his viral cover of “IDK You Yet” have clearly given him the confidence to tackle such weighty subject matter. “Precipice” feels like an artist coming into his own, using his platform to explore the depths of human experience.

For fans of introspective indie-folk, “Precipice” is essential listening. It’s a work that reminds us of music’s power to heal, to commemorate, and to connect. Newman has taken his personal tragedy and transformed it into art that speaks to the universal human experience of loss and resilience.

As “Precipice” makes its way into the world, it’s sure to find a receptive audience among those who appreciate authenticity in their music. Newman’s willingness to bare his soul, combined with his undeniable musical talent, makes for a compelling listen.

For those eager to experience Newman’s music live, he’ll be performing at the Folklore Sessions in Brighton on October 15th and at London’s Waiting Room on October 23rd as part of the East of Eden Showcase. These intimate venues seem perfectly suited to Newman’s confessional style, offering audiences a chance to connect with these powerful songs in person.

“Precipice” is more than just a collection of songs; it’s a journey through the landscape of loss. Bertie Newman has created a work that honors his friend’s memory while offering solace to anyone grappling with grief. It’s a remarkable achievement, marking Newman as an artist capable of transforming personal pain into universal art. As the final notes of “Decay” fade out, listeners are left with a sense of having experienced something profound – a shared moment of remembrance, reflection, and ultimately, hope.